Sixteen Layers
I am no one
Angela Macari O’Looney
Alterative Rock band Sixteen Layers have just returned from a successful trip to Canada, where they partook in the coveted Indie Week festival.
It’s not surprising to hear they received rave reviews and encores for their performances at venues such as ‘The Hideout’ and ‘The Bovine Sex Club’ in Toronto.
This well blended group of musicians fronted by the excellent rock voice of Niall Donnelly, seem to be taking the world by storm and have secured a distribution with Sunrise Records in Toronto, proving they not only enjoyed their trip but didn’t come back empty handed. Can it get any better than this?
I have only listened to this album a couple of times, but already I’ve picked out my favourite numbers, which wasn’t easy since each track involves memorable guitars, sweet vocals and an appealing melody line.
Sixteen Layer’s influences include the best of the best rock bands such as Soundgarden, Queens of The Stoneage, Pearl Jam, The Beatles, Nine Inch Nails, Interpol, Thin Lizzy and AC/DC, to name but a few.
Band members are Niall Donnelly vox/Guitar, Dom Muldoon Lead Guitar, John Colbert Bass/ Vox/ Keys and Tim McGrath Drums/Percussion.
Two of the eleven tracks have already been released as a double A sided single; Exile/Into the Sun.
No Strings
Trickling guitar notes, followed by a sliding twin riff involving one guitar playing harmony, take you into this lovely number that is the opening track.
The chorus is particularly memorable, where vocals are done by Donnelly and Colbert, one in a higher octave and the other in a lower. I love this as it emphasises the emotion.
Powerful drums, bass and guitars plus that hauntingly beautiful opening riff complete this awe inspiring song.
I am No One
The title track is an effective combination of percussion and fast moving rhythm, distortion packed guitars, a superb baseline and a totally delicious chorus!
A well placed keychange lifts this whole number and seems to give it more impact on the listener and in the chorus the refrain of I am no one is sung behind the lead voice as he sings Say your name and stake your claim. Things will never be the same.
The Lizzyesque style twin guitar break is a delight, where the pace alters and then returns to the original beat for the last chorus, which leads to an explosive screaming finale.
Into the Sun
There’s a sustained guitar note at the outset of this track followed by a bass intro, which in turn is followed by a sensational in sync riff that is so catchy, it makes it by far my favourite piece on the album.
There’s a U2 quality to this song with memorable hooks throughout, close harmony to die for and a melody line which for me has the makings of a true classic!
This exciting and fast moving number has just about every thing a rock song should, with Niall and John going into falsetto in the chorus for the oohs. A short but fab lead break captures your attention!
Middle eight is sung and alters to a choppier pace for Niall’s powerful delivery of the line; Catch yourself again. I hope you didn’t find yourself alone.
The singability of the chorus in Don’t let it die appeals to me. Busy bass throughout this explosive number is outstanding, plus yet another blast of in sync guitars. This would be leaning towards heavier rock bands such as AC/DC or Nine Inch Nails.
Head banging air guitar music at its best!
I get the impression by how alive and well blended the guys are here, that this is one of their own favourites. It’s definitely my second favourite song.
A slower song, but a great showcase for all instruments and Niall’s adaptable vocals is track five; Exile.
A plucked acoustic intro and a beat take you into the verse which is softly sung, piano accompaniment adding to the easy mood. Harmony comes in at just the right spot.
Here, electric guitars get to shine as they perform a gorgeous instrumental.
The sentiment in the lyrics is philosophical and very poignant; I don’t need oxygen to breathe. I have everything that I need. Thanks but no thanks I will swim in my own stream.
Eight miles down
This is a dramatic composition made for performing to a big crowd at an open air concert. Chord combinations, melody line and harmonies are really catchy.
As this album progresses the songs get richer and each track is like a new experience after the last. This particular song is guaranteed to get the thumbs up from anyone who hears it.
Hurt Me
Trickling guitars begin this sad love song, with two voices harmonizing. It builds up and becomes quite dynamic for the last chorus, which is performed with passion.
Torch, Trouble Spot, Former You and Sit a while are the remaining tracks. All have excellent melodies, delicious lyrics and exhilarating lead bits. I love the craziness of Trouble Spot, which is in a three four tempo and involves flanger in the lead solo. Superbly performed, this has plenty of thundering drum rolls to add to the atmosphere.
Former You has some intricate guitar and a beautiful melody. It’s yet another song that haunts you and you find yourself singing the chorus. Lyrics tell of how changed a person can become and are sorrowful; Struck by how you sound tonight, like somebody else somebody new. I think that I prefer the former you.
Sit a While begins as an acoustic number where Niall’s vocals are amazing.
His range is really something!
This last wonderful track takes off and suddenly a full orchestra joins in for the chorus, while the simple trickling acoustic guitar continues. It’s like a winding down after the faster stuff earlier and brings everything to a soft, sleepy close!
The band produced and mixed most of these songs at their own studio in James’ St. Dublin, but also had a little help from Andy Colbert at Grouse Lodge Studios.
I enjoy the way Sixteen Layers can take no nonsense heavy rock and put such sweet melodies with it.
The album art is a fingerprint and the words Sixteen Layers in Bold white letters on a black background. This to me is a message that they have their very own unique and original style, which only holds traces of their influences. They certainly leave no holds barred when it comes to musical arrangements, plus well written songs which give each band member a chance to shine. Hearing this CD has given me a taste to go and see Sixteen Layers perform live and it will take pride of place in my collection.
Saturday, October 31, 2009
Wednesday, October 28, 2009
Friday, October 23, 2009
Personality Crash, Chucky's River
Chucky’s River
Personality Crash
Angela Macari O’Looney
Chucky’s River, an interesting trio of musicians are excited about the launch of their debut album, which will be released next month, followed by a nationwide tour.
Diarmuid Comerford – Vocals, Cupie – Bass/ Vocals and Conor Stafford – Drums have worked intensely since forming, to produce an original sound, with excellently structured songs and a driving ambition to find willing ears and gather a following.
This album which is a short and sweet collection of Indie /Alternative rock songs, was produced by Pete Meighan (Dave Couse and the Impossible The Monkey Pole - Hybrasil), mastered by Jon Astley (Led Zeppelin, Ash, Damien Dempsey).
I feel that these songs require more than one listen, to really appreciate the skilful guitars, complex rhythms and powerful delivery of deep thinking lyrics. But for a band that are only a short time around, they do each number justice and certainly have something new to offer.
Personality Crash – The title song of this album explodes into being, with a strange beat.
This song is aptly named, with its choppy defunct impact. Energetic guitar chords and riffs take you into an array of discords in the melody line for the verse which works well. Harmony is splashed here and there, with impressive twin guitars, distortion infused chord combinations and barely noticeable keychanges. Diarmuid’s exciting outburst of vocals I really like. He has fire in his belly for sure!
A sax solo (James McCafferty) lifts the mood a little for the middle eight and adds spice to the overall track, along with Cowbell and tambourine supplied by Spud Murphy.
My favourite number on this album is track 2, This Ship. Guitars are absolute magic, particularly the bit in the chorus, where one guitar seems to answer the other with a refrain. In general, lead guitar is really catchy.
The baseline is superb a la Cupie, harmonies sweet even though they are never overpowering and lyrics as in all songs have a message. I feel the mood in there reflects the current social and financial climate, with the lyrics I know this ship it is going down!
The Town Warp
Choppy rhythm, gorgeous chords and melody line, harmony delicious and Diarmuid’s lead vocals punchy and loaded with conviction.
I love the way the intro consists of trickling acoustic guitar in a slow ballad like tempo, to suddenly change for the verse. There’s a hint of keyboards (Pete Meighan) for only a short spell, combined with what sounds like clarinet, creating a wonderful combination of instruments. As the song winds down the trickling intro returns and I feel it gives the song a sense of completion. This is one brilliantly composed, cheerful piece!
Johnny Finance
Typical of the mindset of most eighteen year old males are the lyrics in this song I just turned 18. All I want is a fast car. I just can’t believe the power beneath my feet.
I love the sliding guitar riff in the intro, the baseline and very effective spurts of distortion laden grunge guitar in the chorus and throughout. This emphasizes the mood of bravado expressed by Diarmuid who puts the song across so well. He has quite a range too, going from a lower octave right up to a higher one.
The Very Same
Sporadic, distortion packed intro!
Bass delicious and harmony yet again excellently placed. I adore the way they fool the listener once again, with a complete change of pace later on in this song. Not quite sure what to make of the lyrics, but the guitars and most especially the lead speak volumes to me. Stop start style chords for the verse are cool.
Is it Zeppelin, Bowie, Rollin’ Stones or just a little bit of everything that’s rock?
Well whatever sound Chucky’s River set out to accomplish, they undoubtedly make you sit up and take notice. I did!
Cover art depicts the head of a doll being caught in a fishing hook, dripping water pouring from the startlingly detached neck. She has an evil looking black symbol painted beneath her right eye. Like the music on the CD, she combines the sweet and beautiful with a twist of irony and a touch of mayhem!
Personality Crash
Angela Macari O’Looney
Chucky’s River, an interesting trio of musicians are excited about the launch of their debut album, which will be released next month, followed by a nationwide tour.
Diarmuid Comerford – Vocals, Cupie – Bass/ Vocals and Conor Stafford – Drums have worked intensely since forming, to produce an original sound, with excellently structured songs and a driving ambition to find willing ears and gather a following.
This album which is a short and sweet collection of Indie /Alternative rock songs, was produced by Pete Meighan (Dave Couse and the Impossible The Monkey Pole - Hybrasil), mastered by Jon Astley (Led Zeppelin, Ash, Damien Dempsey).
I feel that these songs require more than one listen, to really appreciate the skilful guitars, complex rhythms and powerful delivery of deep thinking lyrics. But for a band that are only a short time around, they do each number justice and certainly have something new to offer.
Personality Crash – The title song of this album explodes into being, with a strange beat.
This song is aptly named, with its choppy defunct impact. Energetic guitar chords and riffs take you into an array of discords in the melody line for the verse which works well. Harmony is splashed here and there, with impressive twin guitars, distortion infused chord combinations and barely noticeable keychanges. Diarmuid’s exciting outburst of vocals I really like. He has fire in his belly for sure!
A sax solo (James McCafferty) lifts the mood a little for the middle eight and adds spice to the overall track, along with Cowbell and tambourine supplied by Spud Murphy.
My favourite number on this album is track 2, This Ship. Guitars are absolute magic, particularly the bit in the chorus, where one guitar seems to answer the other with a refrain. In general, lead guitar is really catchy.
The baseline is superb a la Cupie, harmonies sweet even though they are never overpowering and lyrics as in all songs have a message. I feel the mood in there reflects the current social and financial climate, with the lyrics I know this ship it is going down!
The Town Warp
Choppy rhythm, gorgeous chords and melody line, harmony delicious and Diarmuid’s lead vocals punchy and loaded with conviction.
I love the way the intro consists of trickling acoustic guitar in a slow ballad like tempo, to suddenly change for the verse. There’s a hint of keyboards (Pete Meighan) for only a short spell, combined with what sounds like clarinet, creating a wonderful combination of instruments. As the song winds down the trickling intro returns and I feel it gives the song a sense of completion. This is one brilliantly composed, cheerful piece!
Johnny Finance
Typical of the mindset of most eighteen year old males are the lyrics in this song I just turned 18. All I want is a fast car. I just can’t believe the power beneath my feet.
I love the sliding guitar riff in the intro, the baseline and very effective spurts of distortion laden grunge guitar in the chorus and throughout. This emphasizes the mood of bravado expressed by Diarmuid who puts the song across so well. He has quite a range too, going from a lower octave right up to a higher one.
The Very Same
Sporadic, distortion packed intro!
Bass delicious and harmony yet again excellently placed. I adore the way they fool the listener once again, with a complete change of pace later on in this song. Not quite sure what to make of the lyrics, but the guitars and most especially the lead speak volumes to me. Stop start style chords for the verse are cool.
Is it Zeppelin, Bowie, Rollin’ Stones or just a little bit of everything that’s rock?
Well whatever sound Chucky’s River set out to accomplish, they undoubtedly make you sit up and take notice. I did!
Cover art depicts the head of a doll being caught in a fishing hook, dripping water pouring from the startlingly detached neck. She has an evil looking black symbol painted beneath her right eye. Like the music on the CD, she combines the sweet and beautiful with a twist of irony and a touch of mayhem!
Wednesday, October 21, 2009
Jaded Sun and Latitude
Jaded Sun and Latitude
The Village
09/10/09
Recently I reviewed rock band Latitude out in The Bloody Stream in Howth. They were quite new to me then, but I was blown away with their sound. In the small venue they were a little cramped, but proved to be a talented bunch of young musicians, headed by Ian O’Reilly who has a distinctive rock voice and a personality that is ideal for a front man. They reminded me of Jaded Sun, whom I’ve reviewed a few times.
When I said this to Drummer Mick Verling, he was delighted and mentioned a gig coming up soon, where they’d be playing support to none other than Jaded Sun. What a coincidence!
I marked October 9th on my calendar, because I just knew this was going to be a special night and I wasn’t wrong.
Latitude
A young band with five members; Ian O’Reilly-Vocals, Chris McDonnell- Guitars, Danny McAleese- Guitars, Philip Doyle- Bass and Mick Verling- Drums, Latitude have built up a large fan base and have a unique quality. They have the look and perform their own numbers which are a mix of classic Rock, tinged with more modern aspects. They also throw in the odd cover, but do it justice.
Opening the show they did a fab set which included Highs and Lows, Bloody Mary, Get Back(Beatles Cover), Blackout, Lifeline and Tigers. I particularly enjoyed their version of Get Back and admired the full sound they achieved for their set and in particular, the fab in sync riffs Danny and Chris performed.
In this big venue with the right lighting and sound, the lads were excellent. Bassist Phil got to shine with lots of riveting baselines. Guitarists played out of their skins and in general Latitude came across very well.
Sadly it was announced that this was the last performance these guys would be doing as a band, since some were moving on to other things. I was sorry to hear this, because I’ve become very fond of them. But I believe this won’t be the last we’ll hear from each of these excellent musicians and of course Mr. Personality himself, singer Ian.
Jaded Sun
The increasing audience moved closer to the stage for the main event. A barefoot John Maher and his crew took to the stage, launching into the intro for Breaking through, an explosive number involving excellent riffs and hooks. This tends to always open up the show at Jaded Sun gigs and is a great choice.
Lots of songs from Gypsy Trip their debut album were included in the set. These numbers I know word for word and riff for riff since this dynamic medley of songs is a permanent fixture in my car stereo.
Crazyman and Can’t Stop followed. Then they did one that I’m not familiar with called Sweet Mary. This was refreshing and had a memorable chorus.
Sean Gosker performed his show stopping solos throughout each and every number and he and Eorrann Stafford on 2nd guitar performed perfectly synchronized twin guitar breaks in some. They compliment each other’s styles with contrasting riffs that enrich the overall sound.
Damien Kelly on bass is probably the finest there is and also performs harmony behind John Maher for most of the set. Of course Gavin on drums manages to provide the essential backdrop, whether it’s for a sleazy seductive number like Hey You! or for fast moving, lively pieces like Higher.
Crave is a wonderfully soulful number with a sweet guitar intro and the mood was amazing as you could hear the crowd singing it with John. He’s a brilliant showman and like each member of Jaded, ups his game for every gig. He can be passionate in a song like this, or can jump into the air with the agility of an athlete for the more upbeat songs. They continued with Sting me (Black Crowes). I’m not familiar with this song but enjoyed this version.
A couple of newer songs were included in the show. All included some sensational solos. Fire and Breakdown Easy each involved memorable melody lines and the unique Jaded Sun stamp. These are from the new EP which was recently recorded in Paris. I like them but I’d have to hear them a few times to really judge if they are as special as the outstanding pieces on their debut album.
They also did Running down a Dream (Tom Petty cover). Gosker came up to the front and indulged us with an intricate piece of lead that would make any guitar aficionado drool!
Also I noticed some interesting key changes in a couple of the newer numbers. These were very effective indeed!
Fever A guitar plays a trickling riff, baseline ever present taking you into this really involved rock song. Then some screaming, sliding notes are played that would make your hair stand on end. It goes from a sleazy verse, changing pace throughout from dramatic faster bits to slow down, becoming more passionate. Then it speeds up again as John’s powerful voice belts out the chorus I don’t want your pity, don’t need your lovin’, don’t want your money. This song is something of a rhapsody and towards the end one of my favourite guitar solos is performed and finally, in comes that big rolling drum finish to build up to the big stop!
She’s got Class A Cajun riff intro, strut style beat and dizzying guitar behind the chorus, plus Damien and the other guys providing close harmony made this number extra special!
I had been shouting up to John to do one of my favourites, Positive all night. And just as I was about to run to the ladies, he announced he was going to do it for me. Back I went and there was a big cheer as I decided to hold on in order not to miss it.
I’m glad I didn’t. I love this head banging, classic rock song with a fab riff and a sing along quality that is so irresistible. I must add that once again, the three guitarists excelled beyond all expectations here.
The guys went off but the usual shouts of ‘One more song’ forced them to do two extra songs; Whiskey drinker and the piece de resistance Thunderstruck (AC/DC)!
The reaction from the audience spoke for itself as Sean Gosker executed the tricky intro to perfection, fingers flying across the frets of his guitar. Total mayhem as everyone shouted ‘Thunder’ with John, punching the air or playing their air guitars. Note for note they performed the number, big bashing riffs and all, which isn’t an easy task although Brian Johnson and Angus Young would have been proud listening.
In a nutshell this has to have been the most exciting gig I’ve been to for some time. Jaded Sun extended themselves and sent their audience home with the memory of a lifetime.
They only hit Dublin occasionally because of their busy touring schedule, but each time they return, you can hear how they hone and refine their music, reminding us they are simply the best in the business!
Angela Macari O’Looney
The Village
09/10/09
Recently I reviewed rock band Latitude out in The Bloody Stream in Howth. They were quite new to me then, but I was blown away with their sound. In the small venue they were a little cramped, but proved to be a talented bunch of young musicians, headed by Ian O’Reilly who has a distinctive rock voice and a personality that is ideal for a front man. They reminded me of Jaded Sun, whom I’ve reviewed a few times.
When I said this to Drummer Mick Verling, he was delighted and mentioned a gig coming up soon, where they’d be playing support to none other than Jaded Sun. What a coincidence!
I marked October 9th on my calendar, because I just knew this was going to be a special night and I wasn’t wrong.
Latitude
A young band with five members; Ian O’Reilly-Vocals, Chris McDonnell- Guitars, Danny McAleese- Guitars, Philip Doyle- Bass and Mick Verling- Drums, Latitude have built up a large fan base and have a unique quality. They have the look and perform their own numbers which are a mix of classic Rock, tinged with more modern aspects. They also throw in the odd cover, but do it justice.
Opening the show they did a fab set which included Highs and Lows, Bloody Mary, Get Back(Beatles Cover), Blackout, Lifeline and Tigers. I particularly enjoyed their version of Get Back and admired the full sound they achieved for their set and in particular, the fab in sync riffs Danny and Chris performed.
In this big venue with the right lighting and sound, the lads were excellent. Bassist Phil got to shine with lots of riveting baselines. Guitarists played out of their skins and in general Latitude came across very well.
Sadly it was announced that this was the last performance these guys would be doing as a band, since some were moving on to other things. I was sorry to hear this, because I’ve become very fond of them. But I believe this won’t be the last we’ll hear from each of these excellent musicians and of course Mr. Personality himself, singer Ian.
Jaded Sun
The increasing audience moved closer to the stage for the main event. A barefoot John Maher and his crew took to the stage, launching into the intro for Breaking through, an explosive number involving excellent riffs and hooks. This tends to always open up the show at Jaded Sun gigs and is a great choice.
Lots of songs from Gypsy Trip their debut album were included in the set. These numbers I know word for word and riff for riff since this dynamic medley of songs is a permanent fixture in my car stereo.
Crazyman and Can’t Stop followed. Then they did one that I’m not familiar with called Sweet Mary. This was refreshing and had a memorable chorus.
Sean Gosker performed his show stopping solos throughout each and every number and he and Eorrann Stafford on 2nd guitar performed perfectly synchronized twin guitar breaks in some. They compliment each other’s styles with contrasting riffs that enrich the overall sound.
Damien Kelly on bass is probably the finest there is and also performs harmony behind John Maher for most of the set. Of course Gavin on drums manages to provide the essential backdrop, whether it’s for a sleazy seductive number like Hey You! or for fast moving, lively pieces like Higher.
Crave is a wonderfully soulful number with a sweet guitar intro and the mood was amazing as you could hear the crowd singing it with John. He’s a brilliant showman and like each member of Jaded, ups his game for every gig. He can be passionate in a song like this, or can jump into the air with the agility of an athlete for the more upbeat songs. They continued with Sting me (Black Crowes). I’m not familiar with this song but enjoyed this version.
A couple of newer songs were included in the show. All included some sensational solos. Fire and Breakdown Easy each involved memorable melody lines and the unique Jaded Sun stamp. These are from the new EP which was recently recorded in Paris. I like them but I’d have to hear them a few times to really judge if they are as special as the outstanding pieces on their debut album.
They also did Running down a Dream (Tom Petty cover). Gosker came up to the front and indulged us with an intricate piece of lead that would make any guitar aficionado drool!
Also I noticed some interesting key changes in a couple of the newer numbers. These were very effective indeed!
Fever A guitar plays a trickling riff, baseline ever present taking you into this really involved rock song. Then some screaming, sliding notes are played that would make your hair stand on end. It goes from a sleazy verse, changing pace throughout from dramatic faster bits to slow down, becoming more passionate. Then it speeds up again as John’s powerful voice belts out the chorus I don’t want your pity, don’t need your lovin’, don’t want your money. This song is something of a rhapsody and towards the end one of my favourite guitar solos is performed and finally, in comes that big rolling drum finish to build up to the big stop!
She’s got Class A Cajun riff intro, strut style beat and dizzying guitar behind the chorus, plus Damien and the other guys providing close harmony made this number extra special!
I had been shouting up to John to do one of my favourites, Positive all night. And just as I was about to run to the ladies, he announced he was going to do it for me. Back I went and there was a big cheer as I decided to hold on in order not to miss it.
I’m glad I didn’t. I love this head banging, classic rock song with a fab riff and a sing along quality that is so irresistible. I must add that once again, the three guitarists excelled beyond all expectations here.
The guys went off but the usual shouts of ‘One more song’ forced them to do two extra songs; Whiskey drinker and the piece de resistance Thunderstruck (AC/DC)!
The reaction from the audience spoke for itself as Sean Gosker executed the tricky intro to perfection, fingers flying across the frets of his guitar. Total mayhem as everyone shouted ‘Thunder’ with John, punching the air or playing their air guitars. Note for note they performed the number, big bashing riffs and all, which isn’t an easy task although Brian Johnson and Angus Young would have been proud listening.
In a nutshell this has to have been the most exciting gig I’ve been to for some time. Jaded Sun extended themselves and sent their audience home with the memory of a lifetime.
They only hit Dublin occasionally because of their busy touring schedule, but each time they return, you can hear how they hone and refine their music, reminding us they are simply the best in the business!
Angela Macari O’Looney
Tuesday, October 20, 2009
Crawdaddy 10/10/09
Grades of Shade
OK 4 U Album launch,
Crawdaddy 10/10/09
Angela Macari O’Looney
Experimental outfit Grades of Shade celebrated the launch of their new album O.K. 4 U in one of my favourite haunts on Saturday October 10th. A week or two before this, it was suggested to me to give them a listen on My Space.
I was impressed with their sound, despite the fact that I’m not a big fan of anything involving rap and sometimes find electronic music monotonous. I expected to tire of this band after a couple of songs, but instead was dancing around my kitchen as I listened to Hazel’s exciting vocals, which blend excellently with JMC (rapper extraordinaire), who has real charisma. This band’s music has been described as a cross between Massive Attack and Groove Armada.
I decided then and there that I was going to see them and experience this new and sensational act live. Hazel Peters – Vox, JMC – MC/ Percussion, Paul Maguire – Guitars/Backing Vox, Robbie Stanley – Electronic Bass/Microkorg and Eugene Somers – Programming/Drums/Percussion are the team behind the sound and they gave me a warm welcome as I arrived and introduced myself. I made sure to explain that I am not usually into the style of music they do, but added that they definitely have touched a nerve and I’m slowly becoming addicted.
After my meeting with these friendly people, I headed into the gig venue to hear the two support acts.
Stewart Kenny
Stewart provided us with a pleasant acoustic set, accompanied by a female guitarist. He started his short programme, which included songs from his album I’ve fallen so far.
The Prom Queen – With his crisp voice, Stewart sang this upbeat song with its catchy melody line and a nice keychange for the last chorus.
He continued with Seize the moment. This has great chords, lyrics and involves lovely bits of guitar throughout.
Thousand Miles has close harmony and the intricate guitar played here by his companion was impressive.
He did Over the Edge, Strange, plus another song called The Blood on the Wall’s still wet , finishing with Midnight Sun. Robbie and Eugene joined in with bass and drums for the last two songs and you could definitely hear the difference, with the full sound which brought things to life!
Tiny Magnetic Pets
With a very attractive front woman in Paula Gilmer, this act performed a cheerful dance set. I wasn’t here reminds me a little of the style of O.M.D. , a band I danced to years ago.
Described as Live Electronics/Ambient/Electro acoustic, this music involves lots of space age sound effects. Sean Quinn is behind all of this on E Piano, Melotron, Guitar and Pre set drums. James is the acoustic drummer.
Paula’s vocals have an angelic quality, but become more dynamic for the chorus of a song. The combination of this and the throbbing electronic sound is interesting and you can’t help but move to it. She also has a nice personality and interacted with the audience well.
Love is a Stranger – I like the bassy sound that continues throughout this cover. I particularly enjoyed the chorus and it got a very positive response from the growing audience.
Girl in a White Dress – This song was by far my favourite from this band. At times I felt that there’s a resemblance in Paula to Debbie Harry, although she has a softer sound. This band has a way of maintaining simplicity where melodies are concerned. I like this soothing style. I truly enjoyed all of their set and by now was really looking forward to the stars of the show.
Grades of Shade
Opening with Hot from O.K. 4 U, Hazel and the gang arrived onstage. Males and females alike in the audience connected with this gorgeous lady, leather clad with tumbling tresses of mahogany hair and a voice that seems to have an unequivocal range. Behind her, the band were alive from the get go, lots of exciting electronic stuff going on, a great beat from Eugene with plenty of drum rolls and JMC throwing in his short narrative. Soulful and seductive, this was a fab choice to get the party started!
Dirty – This has a rhythmic intro, a sexy baseline and a choppy beat and as Hazel sings the verse, lots of dirty distortion packed riffs from Paul and bass a la Robbie help create the mood. They have a big sound and as Hazel does her sexy moves the crowd go wild.
Reality – This riveting piece of music is for me, one of their best. Lots of distortion packed guitar, lively percussion and beats, not forgetting the wonderful sounds created by JMC, adding to this sleazy but haunting number. Bongos are played by Gary O’Brien, Republic of Loose percussionist who performs live with GOS for this type of song.
This song was recorded as a double A sided single with another song – Ejector seat.
Impossible is nothing
JMC leads this number, which has wistful lyrics. Lots of plucked rhythmic notes and super chords are played on guitar with a divine baseline, there’s a choppy beat and Hazel comes in for the chorus. I love this and the lyrics are great Take it to the limits, in any f..ng weather and only rip it up if you can stick it back together. It goes on in this philosophical vein and I must admit, I became a convert to rap watching the two perform this so well!
Hazel talked to the audience, thanking them for coming to the gig when most people were glued to the Ireland v Italy match. Producer Cormac Moore gave updates as the night was progressing. I found myself admiring the plethora of fancy guitars lined up for both Paul and Robbie, ready for action.
Sore – This begins with a lone baseline, Hazel coming in with the verse. The beat alternates in the chorus each time she sings ‘Sore’. This I love!
Middle eight is sung and is funky and appealing.
Some very effective sampling is used for certain numbers and I particularly enjoyed the intro in the next song which was It’s over.
This is a sad love song, sung with a lot of emotion by Hazel, beautiful trickling guitar in the background and wonderful sound effects throughout.
Come home begins slow but builds up. A catchy riff is continuously played throughout, with sampling very effective. The melody line is sweet and some pretty harmony is included too.
Grades of Shade did a lengthy set, which included most of their songs from the fab new album. Tizwas, Ejector Seat, Higher and GOSOK4U all included hair raising electro stuff, promo lyrics you can forgive when sung by Hazel’s powerful dynamic voice, plenty of audience participation for the words ‘Grades of Shade O.K. 4 U’ and what I also noticed was the way that each musician seemed to be really lost in the music and enjoying himself.
They of course got an encore and did three pieces. One was JMC performing alone, with Bongos played by two people accompanying him. He had this shaker percussion instrument for the short, sweet rap.
Then they did a slow number called Live on air with lots going on in it, really catchy harmony and during this Hazel introduced each band member.
Bleed was the finale for this show which I enjoyed from start to finish. JM, Hazel and the guitarists danced around for this song, which has a feel good quality to it. Bass was delicious and the crazy sound effects were delightful. It has a cool dance beat and everyone hopped around enjoying the ambience.
Hazel and Eugene both thanked all for their support, in particular Cormac Moore, who was previously involved with hit band Republic of Loose and discovered GOS, investing his energy into getting them off the ground. His faith is being rewarded big time, in my opinion because in such a competitive music industry, it requires something more than just sheer determination and skill. There has to be a magic, a spark that is there or isn’t. Like the cover art of the new album, this band are colourful, harmonious and vivacious and will continue to gain new supporters like me with their easy –to- listen- to sound.
OK 4 U Album launch,
Crawdaddy 10/10/09
Angela Macari O’Looney
Experimental outfit Grades of Shade celebrated the launch of their new album O.K. 4 U in one of my favourite haunts on Saturday October 10th. A week or two before this, it was suggested to me to give them a listen on My Space.
I was impressed with their sound, despite the fact that I’m not a big fan of anything involving rap and sometimes find electronic music monotonous. I expected to tire of this band after a couple of songs, but instead was dancing around my kitchen as I listened to Hazel’s exciting vocals, which blend excellently with JMC (rapper extraordinaire), who has real charisma. This band’s music has been described as a cross between Massive Attack and Groove Armada.
I decided then and there that I was going to see them and experience this new and sensational act live. Hazel Peters – Vox, JMC – MC/ Percussion, Paul Maguire – Guitars/Backing Vox, Robbie Stanley – Electronic Bass/Microkorg and Eugene Somers – Programming/Drums/Percussion are the team behind the sound and they gave me a warm welcome as I arrived and introduced myself. I made sure to explain that I am not usually into the style of music they do, but added that they definitely have touched a nerve and I’m slowly becoming addicted.
After my meeting with these friendly people, I headed into the gig venue to hear the two support acts.
Stewart Kenny
Stewart provided us with a pleasant acoustic set, accompanied by a female guitarist. He started his short programme, which included songs from his album I’ve fallen so far.
The Prom Queen – With his crisp voice, Stewart sang this upbeat song with its catchy melody line and a nice keychange for the last chorus.
He continued with Seize the moment. This has great chords, lyrics and involves lovely bits of guitar throughout.
Thousand Miles has close harmony and the intricate guitar played here by his companion was impressive.
He did Over the Edge, Strange, plus another song called The Blood on the Wall’s still wet , finishing with Midnight Sun. Robbie and Eugene joined in with bass and drums for the last two songs and you could definitely hear the difference, with the full sound which brought things to life!
Tiny Magnetic Pets
With a very attractive front woman in Paula Gilmer, this act performed a cheerful dance set. I wasn’t here reminds me a little of the style of O.M.D. , a band I danced to years ago.
Described as Live Electronics/Ambient/Electro acoustic, this music involves lots of space age sound effects. Sean Quinn is behind all of this on E Piano, Melotron, Guitar and Pre set drums. James is the acoustic drummer.
Paula’s vocals have an angelic quality, but become more dynamic for the chorus of a song. The combination of this and the throbbing electronic sound is interesting and you can’t help but move to it. She also has a nice personality and interacted with the audience well.
Love is a Stranger – I like the bassy sound that continues throughout this cover. I particularly enjoyed the chorus and it got a very positive response from the growing audience.
Girl in a White Dress – This song was by far my favourite from this band. At times I felt that there’s a resemblance in Paula to Debbie Harry, although she has a softer sound. This band has a way of maintaining simplicity where melodies are concerned. I like this soothing style. I truly enjoyed all of their set and by now was really looking forward to the stars of the show.
Grades of Shade
Opening with Hot from O.K. 4 U, Hazel and the gang arrived onstage. Males and females alike in the audience connected with this gorgeous lady, leather clad with tumbling tresses of mahogany hair and a voice that seems to have an unequivocal range. Behind her, the band were alive from the get go, lots of exciting electronic stuff going on, a great beat from Eugene with plenty of drum rolls and JMC throwing in his short narrative. Soulful and seductive, this was a fab choice to get the party started!
Dirty – This has a rhythmic intro, a sexy baseline and a choppy beat and as Hazel sings the verse, lots of dirty distortion packed riffs from Paul and bass a la Robbie help create the mood. They have a big sound and as Hazel does her sexy moves the crowd go wild.
Reality – This riveting piece of music is for me, one of their best. Lots of distortion packed guitar, lively percussion and beats, not forgetting the wonderful sounds created by JMC, adding to this sleazy but haunting number. Bongos are played by Gary O’Brien, Republic of Loose percussionist who performs live with GOS for this type of song.
This song was recorded as a double A sided single with another song – Ejector seat.
Impossible is nothing
JMC leads this number, which has wistful lyrics. Lots of plucked rhythmic notes and super chords are played on guitar with a divine baseline, there’s a choppy beat and Hazel comes in for the chorus. I love this and the lyrics are great Take it to the limits, in any f..ng weather and only rip it up if you can stick it back together. It goes on in this philosophical vein and I must admit, I became a convert to rap watching the two perform this so well!
Hazel talked to the audience, thanking them for coming to the gig when most people were glued to the Ireland v Italy match. Producer Cormac Moore gave updates as the night was progressing. I found myself admiring the plethora of fancy guitars lined up for both Paul and Robbie, ready for action.
Sore – This begins with a lone baseline, Hazel coming in with the verse. The beat alternates in the chorus each time she sings ‘Sore’. This I love!
Middle eight is sung and is funky and appealing.
Some very effective sampling is used for certain numbers and I particularly enjoyed the intro in the next song which was It’s over.
This is a sad love song, sung with a lot of emotion by Hazel, beautiful trickling guitar in the background and wonderful sound effects throughout.
Come home begins slow but builds up. A catchy riff is continuously played throughout, with sampling very effective. The melody line is sweet and some pretty harmony is included too.
Grades of Shade did a lengthy set, which included most of their songs from the fab new album. Tizwas, Ejector Seat, Higher and GOSOK4U all included hair raising electro stuff, promo lyrics you can forgive when sung by Hazel’s powerful dynamic voice, plenty of audience participation for the words ‘Grades of Shade O.K. 4 U’ and what I also noticed was the way that each musician seemed to be really lost in the music and enjoying himself.
They of course got an encore and did three pieces. One was JMC performing alone, with Bongos played by two people accompanying him. He had this shaker percussion instrument for the short, sweet rap.
Then they did a slow number called Live on air with lots going on in it, really catchy harmony and during this Hazel introduced each band member.
Bleed was the finale for this show which I enjoyed from start to finish. JM, Hazel and the guitarists danced around for this song, which has a feel good quality to it. Bass was delicious and the crazy sound effects were delightful. It has a cool dance beat and everyone hopped around enjoying the ambience.
Hazel and Eugene both thanked all for their support, in particular Cormac Moore, who was previously involved with hit band Republic of Loose and discovered GOS, investing his energy into getting them off the ground. His faith is being rewarded big time, in my opinion because in such a competitive music industry, it requires something more than just sheer determination and skill. There has to be a magic, a spark that is there or isn’t. Like the cover art of the new album, this band are colourful, harmonious and vivacious and will continue to gain new supporters like me with their easy –to- listen- to sound.
Monday, October 12, 2009
Epock Rising
Epoch Rising
Angela Macari O’Looney
Blistering guitar solos, well constructed original numbers and a fire packed performance from start to finish are the ethos of Epoch Rising, a new and refreshing Irish Rock band, who are slowly but surely building up a following.
Members hail from Dublin, Cork, Waterford and Offaly and each are quality musicians and singers as you will discover on hearing their songs on My Space, or their recently released debut single 10, available on I Tunes.
Influences include Queens of the Stone Age, Foo Fighters, Faith No More, and Wildhearts. Musicians are Sean Ahearn – Vocals/Guitars/ Programming, Harry Prendergast – Vocals/ Guitars/ Visuals and Laurence Moloney – Drums.
One vital advantage is that both Sean and Harry previously fronted their own bands, with the result being an exciting blend of vocals harmonized like a fine tuned instrument in every number. When asked to describe their sound they say it’s energetic with a dark, feel-good edge.
10
This begins with the haunting refrain ‘it’s over’, building up to the intro which is a plucky lead riff. This is a fast moving cheerful song. Melody is catchy, chorus sweet. The riff throughout frames the whole scene, with a lively, exciting guitar break which hits the right spot.
Silence
The harmony is just excellent in this dramatic number, especially in the explosive chorus. A key riff is played throughout; lead solo is memorable but short. Middle eight involves choppy guitar chords, with an echo of I want it all. In this song I feel there’s a pleasant mix of up- to- the- minute Rock infused with a tincture of good old fashioned head banging with your air guitar stuff!
Contact
Vocals are exceptional in this number. It goes from trickling lead in one line, to burst into bashing chords for the next. The melody as in all their songs is memorable and I like the way the words Make contact a storm is rising is sung quietly, building up to a fast urgent chorus with equally fieriness in the accompanying guitars, like you’ve hit the eye of the storm!
Leave it all behind
A slower song, this is laid back with delicious harmony, a pretty melody and excellent lyrics. The chorus is particularly beautiful. There’s a part where the lads sing ‘Ahs’ in almost choral style. Instruments drop back and it’s hairs on the back of your neck stuff.
Listening to these few numbers by Epoch Rising has made me want to hear them over and over. They are a unique gem indeed, in an industry that has turned around and is resurrecting lots of classic styles and leans towards good song writing technique and true musicianship as opposed to good looks and tight butts.
Angela Macari O’Looney
Blistering guitar solos, well constructed original numbers and a fire packed performance from start to finish are the ethos of Epoch Rising, a new and refreshing Irish Rock band, who are slowly but surely building up a following.
Members hail from Dublin, Cork, Waterford and Offaly and each are quality musicians and singers as you will discover on hearing their songs on My Space, or their recently released debut single 10, available on I Tunes.
Influences include Queens of the Stone Age, Foo Fighters, Faith No More, and Wildhearts. Musicians are Sean Ahearn – Vocals/Guitars/ Programming, Harry Prendergast – Vocals/ Guitars/ Visuals and Laurence Moloney – Drums.
One vital advantage is that both Sean and Harry previously fronted their own bands, with the result being an exciting blend of vocals harmonized like a fine tuned instrument in every number. When asked to describe their sound they say it’s energetic with a dark, feel-good edge.
10
This begins with the haunting refrain ‘it’s over’, building up to the intro which is a plucky lead riff. This is a fast moving cheerful song. Melody is catchy, chorus sweet. The riff throughout frames the whole scene, with a lively, exciting guitar break which hits the right spot.
Silence
The harmony is just excellent in this dramatic number, especially in the explosive chorus. A key riff is played throughout; lead solo is memorable but short. Middle eight involves choppy guitar chords, with an echo of I want it all. In this song I feel there’s a pleasant mix of up- to- the- minute Rock infused with a tincture of good old fashioned head banging with your air guitar stuff!
Contact
Vocals are exceptional in this number. It goes from trickling lead in one line, to burst into bashing chords for the next. The melody as in all their songs is memorable and I like the way the words Make contact a storm is rising is sung quietly, building up to a fast urgent chorus with equally fieriness in the accompanying guitars, like you’ve hit the eye of the storm!
Leave it all behind
A slower song, this is laid back with delicious harmony, a pretty melody and excellent lyrics. The chorus is particularly beautiful. There’s a part where the lads sing ‘Ahs’ in almost choral style. Instruments drop back and it’s hairs on the back of your neck stuff.
Listening to these few numbers by Epoch Rising has made me want to hear them over and over. They are a unique gem indeed, in an industry that has turned around and is resurrecting lots of classic styles and leans towards good song writing technique and true musicianship as opposed to good looks and tight butts.
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